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| ©AZUMA Kiyohiko |
Excellence Prize
YOTSUBA &!
Story Manga
Artist : AZUMA Kiyohiko
(Japan)
AZUMA Kiyohiko
Born in Hyogo, 1968. His major works include; Azumanga Daioh, YOTSUBA &!, etc. YOTSUBA &! has been carried in GEKKAN Comic DENGEKI DAIOH (monthly magazine) until this day.
I am delighted to receive this award. I would like to extend my gratitude to the people in the editorial department, my editor, the staff in the studio, and everybody who supported me. Thank you very much.
This work should be read by every generation. It does not have a new concept or make full use of elaborate drawing and structural technique, but all the characters are vividly depicted, which gives exhilaration to the work and the whole atmosphere has a gentleness. The way of presentation of ordinary, decent people is nothing new, but this work does not feel old. I greatly value the fresh feeling of its preserved cross-section which makes us feel “there was such a way of presentation.” This is a work which convinces us there are no limits in the presentation of the manga.
How old were you when you "created" something first time in your life? At that time, what did you create, and what kind of medium did you use?
I have been fond of drawing since I went to nursery school and I remember I was always drawing. My first piece of work which took a manga form was one I probably drew when I was 16 years old. I used tools which were not so different from what I am using now. The finished work was terrible, though, and does not deserve to be referred to as a creation.
What kind of tools or medium do you use now? Please tell us the reason why you choose them.
Just ordinary tools which are sold at stores, such as G-pens, round pens, ink, etc. But I want something cool, like a stylish pen holder.
If you could get "dream tools/medium" for your creation, what do you wish to get?
It might mislead people when I refer to this as a tool, but it is an assistant which is important in manga production. Therefore I want to have a super capable assistant. Needless to say he or she should be talented in drawing, but it would be good if they have a high-level understanding of what I require for that frame. If I say “something like Paaaah!,” they will draw a picture with a “Paaaah!” feeling. Moreover, that drawing would give me a little surprise like, “Wow, there was that kind of expression!” Even more, they would do a job as a professional, rather to be a part-time assistant. What’s more, it would be good if the assistant were a cute and interesting girl.
Do you have any consistent subject matter or theme through your works? If so, please explain us.
I have just Azumanga Daioh and Yotsuba & ! so far, but perhaps I would say it is to depict lively characters. My methods of approach are quite different in those works, though.
Please tell us the most difficult or considerable part when you create your work.
What I struggle with the most is “name,” or creating the story or dialog. It’s so hard that I don’t even want to do it.
What I care about, if I give an example which may be easy to explain for me, is how to design the picture, such as a balance between symbols and realism. How to depict the touch of the character which is “really there,” where the person and the background do not lose touch with each other. What I would hope for is that that does not become too manga.
What I care about, if I give an example which may be easy to explain for me, is how to design the picture, such as a balance between symbols and realism. How to depict the touch of the character which is “really there,” where the person and the background do not lose touch with each other. What I would hope for is that that does not become too manga.
Have you ever felt that your work is a "media art"? Also, what is the difference between "media arts" and "traditional fine arts"?
I became conscious that my work is a media art only after receiving this award. I haven’t even thought about what “media art” is.
“Art” is purely to express oneself, in my opinion. I am also conscious of amusing my reader with my manga work, so I think my work is different from art.
“Art” is purely to express oneself, in my opinion. I am also conscious of amusing my reader with my manga work, so I think my work is different from art.
As an artist/creator, please tell us your approach, stance or point of view when you create your work.
Everything is for manga. While taking a walk, watching a movie, shopping, or eating, manga is always on my mind. And this is the first priority. This is the way I think. However, in reality, I could manage to keep manga in my mind all right, but sometimes I forget that it has the first priority. This makes me feel I am too soft on myself. I want to be an artisan rather than an artist.
What is your motto?
I have none in particular.
What kind of situation in every day life do you get inspired most?
Basically, it is not like a light bulb goes on in my head, but rather a feeling that I think and think and squeeze an idea from my brain. But even though I have a lot of stuff in my mind, I became confused how to relate things to each other and connect them and I lie down on my bed and often find a solution. So I do this intentionally.
What kind of vision do you have in your future development as the creator?
I think I can make my life only by being a manga-ka, and somehow, I am afraid to stop drawing, so I will keep drawing, I guess. It’s like running in a circle.
Please name of the people, things, or phenomena that you have got most influenced by as the creator.
I feel like I am under the influence of everything, so it is difficult to pick out one thing in particular. I was also affected by a child who was on the same elevator with me a little before.
If I would venture to say, SATOMI Hideki, the person who is directing Yotuba Sutazio. He is a person who hurls abuse at my manga the most.
If I would venture to say, SATOMI Hideki, the person who is directing Yotuba Sutazio. He is a person who hurls abuse at my manga the most.
